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УН»
(«ОСЕНЬ») ЯКУТСКОГО КОМПОЗИТОРА КИРИЛЛА ГЕРАСИМОВА
Давлетова
Аннотация:
Keywords and phrases:
a Yakut composer, a vocal cycle, a romance, content,
musical image.
doveroza@mail.ru
Vocal music and embodiment of lyrical images takes an i
mportant place in
creativity of
Yakut composer
l Gerasimov
. At his solo vocal com
positions there are
products
of various genres: it is a song, a romance, a
ballad, an elegy, a nocturne,
waltz, a hymn, a
march, and also a song
crying («
Letter
from the vocal collection
he Nature magic sounds») [2, p. 307]. Among compositions of a vo
cal genre in
creativity of the composer there are also duets and choral products.
In this article we would like to stop more on a genre of a romance and to analyse
vocal cycle of the composer
Kuhun
Autumn
The romance, from Spanish «romance» is a
chamber vocal product for a voice with
unstrumental support. The term
romance
has arisen in Spain and originally designated
a secular song in the Spanish (
Roman
) language, unlike the church chanting sounding
in the Latin tongue. Collections of such so
ngs often united by the general plot, wore the
name «romancero» [5].
In romance music, unlike a song, more attention is given to mood, creation of an
integrated image.
The romance melody is
more detailed, closely bound to a poem,
reflects not only its gene
ral character, stanza type, the poetic size, but also some poetic
images, their development and change, rhythmic and intonational drawing of separate
phrases.
Instrumental support in a romance has important expressive value and
frequently is the participan
t of ensemble equal in rights.
The romance genre assumes very serious and thoughtful relation to the literary text
and K.
Gerasimov pays great attention to a choice of a poetic material in the products.
The com
poser considers that « words
should correspo
nd precisely to mood, a theme,
in them a special
plot must be displayed in them
» [3, p. 22]. He
creates his
compositions exclusively on verses of the Yakut poets. The author addresses to
verses of
the famous and well
known poets
of Yakutia: S.
Dadaskino
v, M.
Timofeev,
Alekseev, K.
Urastyrov, G.
Ugarova
Ugaalaah, Vinokurov (
Чагылган
), S.
Kapitonov,
Yefimov, N.
Gerasimov
Ajtalyyna, and others. Very often composer when choosing
poetic texts addresses to
the creativity of poets
women
Frolova, M.
Mihajlova,
Mihaleva
Saja, S.
Golderova.
In K.
Gerasimov's vocal heritage there are two vocal cycles
Kuhun
(«Autumn»
) written in 1998 and the Triptych «Ejiehe iydana» («To You, the moonlight
night»), 2005
In a vocal cycle
Autumn
is shown the re
ference to the composer's favourite
theme
to the nature. Chamber
vocal miniatures of the cycle, as the author defines
himself, belong to a romance genre. Six romances were included into the cycle under the
names: «
» (Autumn
»),
«Kuhunnu oyuurga»
In an autumn wood»), «Tulaajah
uruya» («
the Lonely crane
»),
Bylyttar
Clouds»), «Hallaan attara»,
(«Heaven
horses») and «Sulustar»
Stars »), united among by a poetic theme of autumn, image
of loneliness, beauty
of the Yakut nature.
The first product
«Kuhun
Autumn») is written on H.
Gorokhov's verses. The
picture of the autumn quiet day in which the warmth of the gone summer is still felt is
described in it. But the approach of colds and winds is felt both o
n the earth, and in the
sky, the nature gradually prepares for winter, the greens disappear, birds are going away.
The romance is written in the simple couplet form, each couplet forms the simple
two
private form. The quiet and measured melody of the firs
t part of the couplet sounds
in the phone of stiffened, clear and transparent chords.
In the second section there is a change of the texture that is bound immediately to
the romance content. Mobile arpegio support transfers internal movement and exitemen
The romance on N.
Gerasimov's words «Kuhunnu oyuurga» («In an autumn
wood») represents the description of a wood in the late autumn in which all is covered
by hoarfrost, and only the call of a deer and the knock of the ice drops is heard.
The romance i
s written by modern musical tongue. It is necessary to notice that the
composer tries to avoid direct citing of the Yakut songs. It starts from intonations of
narrative Yakut speech, hence, the rhythmic drawing of a romance is born from the text,
and verse
s influence the intonational basis of the romance.
In this romance the original way of search of key is felt. The strained harmonies in
the accompaniment, complicated melodic line in the relation of the sound height
constructed on jumps without resolution
, the use of the enlarged so
called
Yakut
quart, give to sounding instability and intensity. Accompanied by a piano elements of
atonality
which are drawing mysterious, unreal pictures of the wood covered with
hoarfrost are obviously audible.
In the roma
nce «Tulaajah turuya» («the Lonely crane»), written also on
Gerasimov's words, we hear a whirlwind of emotions and feelings. It is the
culmination of all the cycle. The dramatic nature is in the figurative maintenance of the
romance in which the history
of the lonely crane soaring
over the wood, flying here in
search of the girlfriend is told.
Excited melody and piano party in which the composer skilfully uses figurations
and passages, registers and sound and tembre complexes, such as, fo
r example
imi
tation of the cry of a crane, very precisely reveals the intense inwardness of the
image. Representation, competent use of
the orchestral writing speaks about the skill of
the composer
symphonist.
The next romance
Bylyttar
Cloud
) on verses of Tomol
on draws for us the
autumn sky on which slow clouds are floating.
The smooth slow melody built on second
and third minor intonations, sounds on the phone of open fifth chords, forming the organ
point.
For the given romance are characteristic: slow rate, v
oice
frequency definiteness,
measured pulsation in piano party. All this reflects the images of philosophical
meditation, reflexion.
The romance «Hallaan attara» («Heaven horses») on V.
Tarabukina's words draws
the quaint forms of the clouds reminding ru
nning horses, the thunderclouds carrying
fertile rains. All this is transferred by means of texture transparency, cristallity and
sonority of sounding, both in a voice and piano parts.
Change of tonal sphere from minor to the major reflects the change
of mood that
symbolizes
transition from tragical images of the cycle to the life
assirting, bright
beginning. The first section of the romance is written in E
dur, the second in F
dur. Here
is the basis of the fifth, light major tonality, high «Lydian» IV
step, metric pulsation of
quarter notes in melody line.
The cycle is finished by the
romance on M.
Yefimov's words «
Sulustar
Stars
in which the picture of calmness, tranquility, contemplation is drawn, the blinking of
stars and their reflexion in wa
ter smooth surface is described.
Liriks and contemplate character is very precisely
is reproduced in the party of
piano reflecting enlightenment, full of light mood and heat. To rise upwards to stars, to
rise over the earth, to be above earth cares
so i
t is possible to define the basic figurative
sphere of the romance that finishes the cycle.
The melody of the romance built on simple diatonic motives, with each sound rises
up and up, to the sky, clouds and stars. The bright, transparent texture of the c
hords, D
dur. So lightly and optimistically the cycle comes to the end.
Thus, the vocal cycle
Autumn
is united by the comlete image
the image of the
nature which is eternal and bring to us inspiration, sensation of freedom and flight. Each
romance so
lves the certain art problem executed by means of exact selection of musical
paints and means of expression: clear melody line of the voice part, rich sounding of the
piano, lyrical, sometimes dramatic text.
As we already noted, the text in romances plays
very important role: it
carries
the
basic mood, the special plot is developed in them. The images of Nature reflect internal
human experiences and special psychological state. Musical phrases which follow the
text exactly reflect syllables of the Yakut w
ord, precisely fix the accents.
The principle of construction of the verses, used in two las
t romances «Heaven
horses» and «
Stars
meets in tradi
tional Japanese lyrical poetry «
vaka
, known since the
XIV century. While tran
slating «khaiku»
from the beginn
ing of the XX
th century were
written as three
line verses.
In classical
khaiku
, as well as in the Yakut poetry, the central place is occupied
by natural image, obviously or not correlated with human life. Thus in the text there
should be indication o
f a season.
haiku
is written only in the present: the author
writes down the immediate impressions of
just seen or heard. Traditional
khaiku
has
no name and does not use means of expression habitual for the western poetry (in
particular rhyme), howeve
r uses the series of the specific ways developed by Japanese
national tradition. The art of writing
khaiku
is an ability to describe the moment in
three lines. In a small poem each word,
every image is on the account,
they get special
weightiness, import
ance. To tell a lot using only a few words
the major principle of
khaiku
The same principle is observed in K.A.
Gerasimov's vocal lyric
s which leaning on
the scenery
and beauty of the tongue, in each word, in each musical sound puts
weightiness, spe
cial semantic value. To the vocal music of K.
Gerasimov is inherent
bright intonational turns, remembered melodic line that transfer the original world of
feelings, thoughts and experiences of the author.
And in end it should be noticed that K.
Gerasimov
considers as one of the tasks of
his creativity is writing of Yakut romance. In music of the Yakut composers the
romance genre, according to the composer, is presented not so widely as it demands
more deep revealing of the content of the text and correspon
ding support
with equal
participation of piano party in the art disclosing of the image [3, p.22].
Использованная литература:
Герасимов К.А. Синяя ночь: песни и романсы в сопровождении фортепиано
/К.
А. Герасимов; [обл. П.
Н. Слепцовой; ил. М.
П. Васильевой
Сурзаковой].
Якутск: Бичик, 2006.
136 с.
Давлетова Р.Р. Вокальная музыка якутского композитор
а Кирилла
Герасимова // Аргуновские чтения: материалы международной научно
практической конференции (WORKSHOP), 17 апр. 2015 г. / [под общей ред.
д. социол. н. У.А. Винокуровой; ред. совет; Т.И.
Аргунова
Лоу, У.А.
Винокурова, Д.М. Винокурова и др.].
Якут
ск: ИЦ АГИКИ, 2015.
354 с.
(Культура Арктики; Вып. 3).
310.
Давлетова Р.Р. Вокальная музыка якутского композитора Кирилла
Герасимова // Сборник публикаций мультидисциплинарного научного
журнала «Архивариус» по материалам II международно
й научно
практической конференции: «Наука в современном мире» г.
Киева: сборник
со статьями (уровень стандарта, академический уровень).
К.:
мультидисциплинарный научный журнал «Архивариус», 2015 г.
104 с.
С. 21
24.
Давлетова Р.Р. Творческая деятельно
сть якутского композитора Кирилла
Герасимова // Исторические, философские, политические и юридические
науки, культурология и искусствоведение. Вопросы теории и практики.
Тамбов: Грамота, 2015. № 7 (57): в
х ч. Ч.1. С. 38
42.
Электронный ресурс:
http://www.norma40.ru/articles/istoriya
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The used literature:
Gerasimov K.A. Dark blue night: songs and romances accompanied by piano /
K.A.Gerasimov
Yakutsk:
Бичик
, 2006.
Davletova R.R. Vocal music of Yakut composer
Kirill
Gerasimov//Argunovsky
readings: materials of the international scientifically
practical conference
(WORKSHOP), April, 17, 2015.
Yakutsk: AGIKI IS, 2015.
354 p.
(Culture
of the Arctic regio
ns; #. 3).
. 305
310.
Davletova R.R. Vocal music of Yakut composer
Kirill
Gerasimov
//the Collection
of publications of multidisciplinary scientific magazine "Registrar" on materials
of
II international scientifically
practical conference: «the S
cience in the modern
world» in Kiev: the collection with articles (standard level, the academic level).
: multidisciplinary scientific magazine
Registrar
, 2015
104 p.
P. 21
24.
Davletova R.R. Creative activity of Yakut composer
Kirill
Gerasimo
v//
Historical, philosophical, political and jurisprudence, cultural science and art
criticism. Theory and practice problems.
Tambov: the Reading and writing,
2015. № 7 (57): in 2 parts. Part 1. P. 38
The Electron resource:
http://www.norma40.
ru/articles/istoriya
romansa.htm